Opens with some nice blue skies, acoustic guitar, and text advocating for worker revolution. He starts into a history of Butte MT over some Dirty Three music, tying it into the novel Red Harvest. IWW/Wobblies vs. the Anaconda mining company in early century. The company wins, destroys the unions and lords over evil conditions. Mine runs full-tilt during WWI until a horribly fatal fire sparks renewed union interest… enter Wobbly Frank Little, arriving from Bisbee, making this the Che Part 2 to the Greene film. While he’s sleeping among the workers, the company breaks in and murders him. “All the we know of Frank Little’s time in Butte and all that we know regarding his murder comes from company papers and company spies. Thus official history is company history.”

A couple of Low songs “Mass arrests and deportations begin almost immediately” after the government declares war on organizers. Movie is ingeniously designed to make me angry, ending with the poisoning deaths of hundreds of birds. The company continues to assure residents that the water is safe.

from Cinema Scope 13:

Jason McBride: “Butte’s history – and Wilkerson’s film – is bound up with the entire history of the American left, the rise of McCarthyism, the destruction of the environment, and even the birth of the detective novel … Elegant, almost-still lifes shot by Wilkerson himself recall the work of his former teacher, James Benning.”

Wilkerson: “I’ve always been excited by the Third Cinema … something that took from the high and low culture and was highly politicized, raw, a little less perfectly finished, often with social goals that outweighed pure aesthetics. They would always argue for this notion of imperfect film – a film that was perhaps not aesthetically perfect, but perfect along the lines of what they were striving for.”

Low-budget realistic dramas with lyrical photography weren’t a whole genre back then, so this must’ve stood out when it premiered, winning three prizes at Venice the year of Red Desert. For me that lyrical photography had to pull a lot of weight to carry the story of an idealistic hard-working union-loving Black man in a racist town/country/world, his hopes getting increasingly crushed. He wanders off from his train work to marry a preacher’s daughter and settle into a factory job, but gets called “boy” by everyone and is fired for trying to start a union. Blacklisted, tormented by whites all day, he finally throws his wife across a room then walks out to visit his deadbeat father just in time to see dad drop dead from alcoholism. Good soundtrack!

Singing star Abbey Lincoln only acted in a few films: this, a 1968 Sidney Poitier joint, and as Denzel’s mom in Mo’ Better Blues. Our Boy Ivan also starred in Car Wash a decade later. His dad was in Hell Up in Harlem, and dad’s girl was the damn Oracle in The Matrix.

Nice to see this at the Landmark before it disappeared onto the small screen (bragging). Quiet movie – there are long stretches with low conversations and no background music. I don’t want to say it’s too quiet, but its epic length and contemplative air didn’t resonate as much with me as others – I didn’t feel a great sadness that the hit man’s family wouldn’t talk to him and he ended up friendless, puttering around a retirement home and choosing his own casket. Still, from scene to scene, undeniably a heck of a movie. Scorsese with his Gangs of New York screenwriter. Starring all the actors I recognize, plus a few I almost do (The Captain from USS Callister as Hoffa’s foster son).

As cynical and absurd as Idiocracy (and even featuring Terry Crews). Lakeith Stanfield finds something he’s good at (selling awful things to rich people) and forsakes his awesome girl Tessa Thompson and his unionizing coworkers for a taste of fortune and power. He realizes the error of his ways, but also gets turned into a horse.

Starts and ends with a labor strike, but I guess 1982 was too little/late for Demy to be considered political enough to hang with the New Wave gang again. This is a tragedy version of The Young Girls of Rochefort: all-singing, love and coincidence following multiple characters through 1955 Nantes, ending in suicide and disaster.

Our doomed lovers are Edith (Dominique Sanda, also suicidal in Bresson’s Une femme douce) and Francois (Richard Berry, now a writer/director). She’s dabbling in prostitution to get away from her loveless marriage, walking the streets in only a fur coat.

Edith’s mom (Danielle Darrieux, the mom in Rochefort) is Francois’s landlady, though they won’t discover this until late. Edith’s impotent husband is a redbearded Michel Piccoli. In 1967 Danielle Darrieux’s character was dating Piccoli, and now 15 years later he’s married to her daughter. Danielle is ex-aristocracy, politically opposed to her “anarchist” tenant, dealing with loneliness after the recent death of her husband and a seldom-visiting petulant daughter who claims to be in eternal love with the man she met the night before.

Francois is a junior dockworker, so is afraid of losing his job during the strike. His sweet, lovely girlfriend Violette (Fabienne Guyon, a singer and stage actress) is pregnant, has a sweet, lovely mother (Anna Gaylor), but Francois tells Violette about his love affair and breaks everyone’s hearts. He joins his balding coworker (Jean-Francois Stevenin who plays the balding dude in everything: Le Pont du Nord, Small Change, The Limits of Control) on the front lines, and the movie ends how it must: Piccoli slashes his own throat, Francois gets his head smashed by the cops and Edith shoots herself.

Francois and Stevenin, with union leader Jean-Louis Rolland in the hat:

This was the last film from the box set, so I checked out the exhaustive A to Z extra by James Quandt. “Given his happy childhood, one wonders what accounts for all the broken families in his films.” Demy considered Les Dames du Bois de Boulogne “the formative influence of his career” and Quandt displays similarities between Bay of Angels and Pickpocket. “The director once said that his ideal would be to make fifty interlocking films elaborating on his characters’ overlapping destinies.” I knew about the Cocteau and Ophuls connections, but the segment on influences from paintings was fresh. Interesting sidenote on the axe murderer in Rochefort, and Une Chambre en Ville was said to be Demy’s dream project and he was crushed when it flopped.

This feels more mainstream than Kate Plays Christine or Actress without compromising Greene’s interest in blurring the lines of performance, and while bringing up tons of new and timely issues. The photography is very good (some epic travelling shots, most notably when introducing our young star Fernando) and Greene has graduated from filming lone actresses to an entire town. I came in with high expectations and couldn’t be happier – this was the standout hit of True/False.

In July 1917, striking workers in an Arizona mining town were rounded up and herded out of the town, told they’d be killed if they returned. For the hundredth anniversary, Greene films a town-wide re-enactment of the event, as portrayed by locals with hundred-year roots, by ex-miners and their families, businessmen and government officials, and town newcomers. Few had heard of the “Deportation” before the anniversary committee got underway, but as they research their roles it leads to much discussion and some uncomfortable parallels to still-current problems – deportation and communist agitation were rearing their ugly heads again right as filming began. Two brothers whose grandfather exiled their great uncle play opposite sides, a friendly young dude plays an ambivalent miner who gets swayed to become a flag-waving striker, and a descendant of a town leader insists the deportation was right and necessary until the moment when he finds himself rallying his neighbors onto desert-bound railcars at gunpoint. Minds don’t exactly get changed, but people soften their hardline positions. The whole ensemble piece is beautifully assembled and shot in widescreen, cutting between documentary behind-the-scenes footage and staged-reenactment scenes without radically changing the visuals, breaking down the boundaries between them in true Greene-T/F style.

After lunch we went to the Journalism Institute on campus because we heard there was a Strong Island exhibit. It must have been closed on Sunday, but we came across this instead:

Would be a decent enough movie – good concept but plot problems and sometimes clunky direction – but oh, the cast! A few months after The Lady Eve, someone had the smarts to hire a bunch of Preston Sturges players (Coburn, Demarest, and I’m counting Jean Arthur from Easy Living) along with Cuddles Sakall (same year as Ball of Fire) and Spring Byington (You Can’t Take It With You) and throw ’em all together. I was worried that the unknowns (Edmund Gwenn as a cranky boss and Robert Cummings as Jean’s labor-organizer love-interest, both Hitchcock actors) would drag down the cast, but no, everyone was great.

Coburn is supposedly a reclusive tyrant businessman whose response to any trouble is to fire people, but when he goes undercover at his own department store to ferret out pro-unionists he immediately turns into a teddy bear and falls for a fellow worker (Byington) in the shoe department. His new friends, Jean and Robert, are leading the labor fight, and though Coburn easily gets their list of sympathizers, he decides – instead of firing everyone on the list – to have a double wedding and take everyone on a Hawaiian cruise.

Wood made a couple of Marx Brothers movies and writer Norman Krasna did Mr. and Mrs. Smith, Indiscreet and White Christmas. Nominated for two oscars alongside The Devil Pays Off and The Devil and Daniel Webster, a diabolical year.

What’s up with Donen always having a co-director? Abbott was 70 at the time, and unless this is a misprint he lived to be 107.

A pre-Pillow Talk Doris Day is a workers’ union representative named Babe in a pajama factory, and Broadway actor John Raitt is the new middle manager Sid (but everyone calls him Sorokin – they’re into weird nicknames in this movie) who fires her. Seems like a fine setup for a romantic comedy if you ask me. I liked this, though I got complained at for falling asleep and had to finish it the next day. Katy didn’t like the songs, and a musical lives or dies by its songs, so it died. We both noticed the color was dull and drab, but IMDB people all rave about the bright colors, so maybe there’s a better DVD out there.

So yeah, Sid has to fire Babe, but she’s still on the union committee demanding a seven-and-a-half cent hourly raise, causing slowdowns and sabotage to shake up the owner, Mr. Hasler. This causes the committee (which consists of Babe, a heavy girl named Mae, a glasses guy who likes Mae, and a twitty nasal-voiced Marilyn-wannabe) to break into song and dance.

Sid also likes Babe, but doesn’t get much ground there. So he takes to stalking her friend Gladys (Carol Haney), the boss’s assistant, until he gets the key to the safe where the books are kept. I think he catches the boss embezzling money which had been earmarked for an employee raise six months earlier, and negotiates that they get their raise (non-retroactively) and nobody gets in trouble… which is sort of a copout, but maybe the movie didn’t want to appear too pro-union. Of course this means Sid gets the girl.

I told Katy that Carol Haney reminded me of Shirley MacLaine in Artists & Models. MacLaine was Haney’s understudy for this role on Broadway! I am good. Haney was great in this, and attention-grabbing with her dance to “Steam Heat” and singing on “Hernando’s Hideaway,” but this was her final film and she died of illness not long afterwards. Mae, unsurprisingly, didn’t have much of a Hollywood career, playing roles such as “angry lady”, “housing lady” and “fat lady.” Nasal-lady Barbara Nichols’ short life in film included Sweet Smell of Success and Beyond a Reasonable Doubt.

Sid Sorokin was nothing special, but Doris Day really came to life in this one. I liked Haney’s songs and the weird union plot and the neon signs that label everything in the pajama factory. Wasn’t keen on the playful comic romp of Gladys’s jealous husband Heinz chasing her around with a knife at the end, but overall found it a better-than-average musical.